Architectural Jewelry

Bronze pours from salvaged military scrap form a forest of leaf-like natural elements, undulating and seeming to grow out from an unseen ground. The bronzes are formed by a gestural ...

Mary Schiliro’s work with acrylic paint on Mylar is process based, and expands the boundaries of painting by exploring alternative presentation methods. Using a dipping process wher...

The freestanding sculptures in this portfolio are made from the “sticks”: a pile of found wood that Sweibel has been pulling from to make new works since about 2002. The pile consist...

Susan Hensel designs images in the computer using specialized software.  It is a form of drawing in stitches that combines aspects of both Adobe Photoshop...

Norma Marquez Orozco explores concepts of impermanence, perception, form and balance through physical movement of the work itself in a lucid, game-like context, like puzzles. All the elements are made of paper, molded into three-dimensional forms. The repetitive geometric shapes are assembled inside boxes built out of translucent paper. The arrangement is random and unfixed to allow movement and unpredictable composition. The harmonies and tensions in the work arise from different exchanges between the colors, the patterns, and the geometric and organic shapes, as well as the sense that change is constantly occurring as the elements shift and move. When one looks at these compositions, you see them for the first time, every time, because what is creating and completing the artwork is always changing; such as light, weather and forms merge and interact. As a result of these dynamic relationships, the work extends beyond her personal hand, sustaining an appearance and composition entirely of its own. Norma Márquez Orozco was
 born
 in
 Chicago,
Illinois,
 and
 raised
 in
 Guadalajara,
 Jalisco,
 Mexico. Her work can be seen as an investigation into the way relationships emerge and evolve when elements like color, form, shape, lines, angle and pattern are blended, shifted and layered. She currently lives and works in New York City. Marquez Orozco
 has
 curated
 exhibitions throughout
 New
 York
 and
 has hosted
 lectures
 and
 artist
 talks
 for
 the
 public. In
 2001
 she founded
 Floor4Art, an
 alternative
 space
 in
 West
 Harlem
 that
 houses
 artist’s
 studios
 and
 exhibition
 space
 aimed
 at
 producing,
 promoting
 and
 connecting
 artists.
 Exhibition venues include: ODETTA, Brooklyn, NY, Longwood Art Gallery, Queens Museum, The (S)Files 007/ El Barrio...

In 1972, the women’s movement was in full flower. Suzanne Benton had been an early activist, a founder and organizer of NOW Chapters, CT Feminists in the Arts, Women, Metamorphosis 1 (in New Haven, CT, the first women’s art festival in the USA). She'd already been creating metal sculpted masks and working with them in mask tale performances of Women of Myth and Heritage. Her inaugural performance of Sarah and Hagar n 1972 took place at Lincoln Center in NYC. Benton then became the artistic director and producer of an evening on Broadway, Four Chosen Women (performers included herself as mask tale performer, author Anais Nin, actress Vinie Burroughs and dancer Joan Stone). The evening took place at the Edison Theatre, November 22, 1972. While developing the evening on Broadway, Benton met renowned Swedish actress and Hollywood star, Viveca Lindfors. Viveca was then working on her solo performance, I AM A WOMAN, and was looking for a unique theatre set for the show. The happenstance that brought Viveca and Suzanne together. At that same time, recent travel to Macchu Picchu inspired her with the mountain’s great stones sitting on the edge of precipices. These vast stones led her to create welded steel Seated Sculpture Works. Viveca was intrigued by the concept and let her own imagination fly. Imagining a set of welded steel sculpture, she took the leap in commissioning Suzanne with complete faith in artist's ability to fulfill her mandate. Benton created groups of welded sculptures for two theater sets. Protection is one of three sculptures in first set created in 1973. Mother and Child, Pelvic Woman, Facing Each Other are three of five works from the 1974 second set. The first toured with her shows throughout the East Coast and into Toronto, Canada. The second set, created to nest together could travel as checked baggage for international and domestic airline travel. They flew to Denmark in 1980 for her performance at the UN sponsored 1980 Women’s International Conference, Copenhagen. In addition to creating the theatre sets, Benton mounted exhibitions of her masks and sculptures in the lobbies of theatres where she performed (NYC and Northampton). Continuing on with this theme, Becoming is her 1975 Seated Sculpture Work. The theatre sets were returned at the final end of its long run. These Seated Sculpture Works have often been featured in exhibitions, including both the 2003 and 2005 retrospectives. They are part of an oeuvre of 797 sculptures and masks. What attracted her to welded sculpture? This excerpt from her book, The Art of Welded Sculpture, Van Nostrand Reinhold, 1975 speaks of its lure: "Early in my life, when I had decided to become an artist, I had had an inner vision of being able to hold the physical material of my art in such a way as to bring it into existence with my hands. In welding, I wear a mask, a heavy apron, and gloves. I heat the metal and make it bend so smoothly and gracefully; I cut the metal, rigid metal, into endless shapes; I join the pieces by causing them to flow together with the heat of the flame. Welding was a return to my adolescent vision. It was fulfillment. At that beginning time I felt that even if I went no further, this experience in itself gave me astounding satisfaction. It was as thrilling as the moment of birth. It was my birth." (Pelvic Woman and Protection are illustrated in the book): What began in 1965 became by 2017 an oeuvre of 797 sculptures and masks. The magic of the welding mask...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish...

Over the past few years, Jesse Hickman has been making minimal abstract paintings on wood with few constraints. He calls this series Notes, thinking of these pieces as drawn sketches...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish...

Kathleen Vance explores environmental issues such as water conservation and protection through positive stewardship of the land. She looks to convey an appreciation of nature and tra...

Michele Brody, Re-Blooms, Installation, Handcast Paper, Bamboo, 8'h x 5'w x 3'd, 2019 The essence of Michele Brody’s work thrives on the interaction with new communities and place-...

These new paintings and works on paper are the outgrowth of experimentation that seeks to bring the work to a newer outpost of Baker’s search for an honest self-revelation. The new s...

In Baker’s work, there is solace in the geometry of fundamentals, and a practice that focuses on the ephemeral nature of paper and the ease of its transportability, which allows her to create large-scale constructions. A desire for definitive certainties and incontrovertible truths in an era of “alternative facts”, precipitate the need for Baker to assert her clarification of evidence. A new major installation has been created for her exhibition at ODETTA that layers baroque design elements found in paper cup carrying trays with anxiety-provoking phrases, rendered as gorgeous, yet fragile paper spheres...

Architecture and functional objects inform the vocabulary of Richard Bottwin’s sculpture. The plywood surfaces, laminated with wood veneers or painted with acrylic colors, are confi...

Charles Birnbaum is a sculptor and a self-taught photographer. He graduated from Kansas City Art Institute where he studied ceramics and was one of a select group of the esteemed Ken...

Andra Samelson’s work explores the relationship of microcosm and macrocosm, the celestial and terrestrial. Her imagery is often associated with molecular and galactic systems. Combin...

In Baker’s work, there is solace in the geometry of fundamentals, and a practice that focuses on the ephemeral nature of paper and the ease of its transportability, which allows he...

Bronze pours from salvaged military scrap form a forest of leaf-like natural elements, undulating and seeming to grow out from an unseen ground. The bronzes are formed by a gestural ...

Weaving is a form of drawing, of plotting and connecting lines. Fabricating a three-dimensional, transparent object using thin strips of paper with differing colors on either side re...

"Woman with Head of Roses" or "Femme à Tête de Roses" is a bronze sculpture by Surrealist Salvador Dali. This interesting piece, referenced by Descharnes as number 684, includes a pl...

Edition of 9 Comes attached to a black steel base. Bjørn Okholm Skaarup was born in Rudkøbing, Denmark in 1973. From 1994 to 2004, Skaarup was an artist at the Danish National Museum, Copenhagen, before moving to Florence and receiving a PhD from the European University Institute in 2009. While in Florence, he studied the work of Renaissance sculptors Donatello, Cellini, and Giambologna, learning the vanishing art of large-scale bronze casting. He also wrote and illustrated books on history, archaeology, and anatomy. In 2012, Skaarup was commissioned by the Koldinghus Museum, Kolding, a former Danish royal residence, to create four large reliefs depicting scenes from the life of Christian IV of Denmark. Skaarup was given his first solo U.S. museum exhibition at the Bruce Museum in Greenwich, Connecticut, in 2015. That same year, the Collectivité of St. Barth acquired a suite of ten animal sculptures for public display throughout the island. In 2017, Skaarup's 15 foot tall monumental sculpture, Hippo Ballerina, was installed in front of Lincoln Center at Dante Park in NYC, in partnership with NYC Parks Art in the Parks program. The artist's now beloved sculpture has been exhibited throughout NYC, next to the iconic Flatiron building, in front of Grand Central Terminal in Pershing Square, and most recently in Stamford, CT in front of the Ferguson Library. Inspired by Degas’ Little Dancer...

Edition of 9 Comes attached to a black steel base. Bjørn Okholm Skaarup was born in Rudkøbing, Denmark in 1973. From 1994 to 2004, Skaarup was an artist at the Danish National Museum, Copenhagen, before moving to Florence and receiving a PhD from the European University Institute in 2009. While in Florence, he studied the work of Renaissance sculptors Donatello, Cellini, and Giambologna, learning the vanishing art of large-scale bronze casting. He also wrote and illustrated books on history, archaeology, and anatomy. In 2012, Skaarup was commissioned by the Koldinghus Museum, Kolding, a former Danish royal residence, to create four large reliefs depicting scenes from the life of Christian IV of Denmark. Skaarup was given his first solo U.S. museum exhibition at the Bruce Museum in Greenwich, Connecticut, in 2015. That same year, the Collectivité of St. Barth acquired a suite of ten animal sculptures for public display throughout the island. In 2017, Skaarup's 15 foot tall monumental sculpture, Hippo Ballerina, was installed in front of Lincoln Center at Dante Park in NYC, in partnership with NYC Parks Art in the Parks program. The artist's now beloved sculpture has been exhibited throughout NYC, next to the iconic Flatiron building, in front of Grand Central Terminal in Pershing Square, and most recently in Stamford, CT in front of the Ferguson Library. Inspired by Degas’ Little Dancer...

Edition of 9 Comes attached to a black base. Bjørn Okholm Skaarup was born in Rudkøbing, Denmark in 1973. From 1994 to 2004, Skaarup was an artist at the Danish National Museum, Copenhagen, before moving to Florence and receiving a PhD from the European University Institute in 2009. While in Florence, he studied the work of Renaissance sculptors Donatello, Cellini, and Giambologna, learning the vanishing art of large-scale bronze casting. He also wrote and illustrated books on history, archaeology, and anatomy. In 2012, Skaarup was commissioned by the Koldinghus Museum, Kolding, a former Danish royal residence, to create four large reliefs depicting scenes from the life of Christian IV of Denmark. Skaarup was given his first solo U.S. museum exhibition at the Bruce Museum in Greenwich, Connecticut, in 2015. That same year, the Collectivité of St. Barth acquired a suite of ten animal sculptures for public display throughout the island. In 2017, Skaarup's 15 foot tall monumental sculpture, Hippo Ballerina, was installed in front of Lincoln Center at Dante Park in NYC, in partnership with NYC Parks Art in the Parks program. The artist's now beloved sculpture has been exhibited throughout NYC, next to the iconic Flatiron building, in front of Grand Central Terminal in Pershing Square, and most recently in Stamford, CT in front of the Ferguson Library. Inspired by Degas’ Little Dancer...

Edition of 9 Comes attached to a black steel base. Bjørn Okholm Skaarup was born in Rudkøbing, Denmark in 1973. From 1994 to 2004, Skaarup was an artist at the Danish National Museum, Copenhagen, before moving to Florence and receiving a PhD from the European University Institute in 2009. While in Florence, he studied the work of Renaissance sculptors Donatello, Cellini, and Giambologna, learning the vanishing art of large-scale bronze casting. He also wrote and illustrated books on history, archaeology, and anatomy. In 2012, Skaarup was commissioned by the Koldinghus Museum, Kolding, a former Danish royal residence, to create four large reliefs depicting scenes from the life of Christian IV of Denmark. Skaarup was given his first solo U.S. museum exhibition at the Bruce Museum in Greenwich, Connecticut, in 2015. That same year, the Collectivité of St. Barth acquired a suite of ten animal sculptures for public display throughout the island. In 2017, Skaarup's 15 foot tall monumental sculpture, Hippo Ballerina, was installed in front of Lincoln Center at Dante Park in NYC, in partnership with NYC Parks Art in the Parks program. The artist's now beloved sculpture has been exhibited throughout NYC, next to the iconic Flatiron building, in front of Grand Central Terminal in Pershing Square, and most recently in Stamford, CT in front of the Ferguson Library. Inspired by Degas’ Little Dancer...

Architecture, functional objects and the human gestures that occur when interacting with these structures inform the vocabulary of Richard Bottwin’s sculpture. The plywood surfaces,...

Michele Brody, Nature in Absentia: Cattails Plucked Out, Handmade Cast Paper The essence of Michele Brody’s work thrives on the interaction with n...

A native New Yorker, Diane had an earlier career including 17 years as a management consultant to local nonprofits concerned with poverty or disenfranchisement; work in NYC governmen...

In the body of work for “Child’s Play” Roleke has created diminutive worlds in which toys tell the story of consumption, consumerism, war, and the misuse of power and religion. The m...

There are two Little Oil installations available with 6 sculptures each on top of LED light boxes. Katherine Jackson has been working with glass and light together for many years, Recently, she's been making glass castings of vintage oil cans, and displaying them -- singly, in small groupings, or in vitrines -- on light boxes. So far she has created about 90, each one unique. The series is called Little Oil, alluding to Big Oil, and sometimes Small Oils, as in oil painting. But “oil” can mean many things. It has been a source of light (sometimes from unconscionable sources) since ancient times as well as a source of eternal light in many faith traditions. Set atop lightboxes, where each work glows from within, these pieces can simply seem like vessels of light itself. At times, they appear to me to transcend their relation to oil altogether, appearing anthropomorphic or creaturely, even biological. These days, I think of them as archeological artifacts, relics of a past, oil-based, civilization. Necropolis is a print of a painting inspired by a map of the necropolis where the terra cotta soldiers...

Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine t...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. In the case of Holiday Inn, it wasn’t their buildings, but their iconic illuminated sign that appeared on ashtrays, so he sought out a standing example of the sign he could photograph. As it turned out all had been removed years before from the hotels' properties and the only working example was indoors at the Henry Ford Museum in Dearborn, Michigan. He did, however, find out that there was one still standing, surprisingly, in Beruit, Lebanon. He found an image of it on the web and used it to make Holiday Inn (Beruit). In 1973 Holiday Inn changed their tagline from “The Nations Innkeeper” to “The World’s Innkeeper” as they expanded overseas, including the Mideast. For the hotel chain it was bad timing: the disastrous Lebanese civil war began in 1975. In the war, the different Lebanese militias involved in the conflict, including the Nasserites, Christian Phalangists, and the Lebanese National Movement engaged in what came to be called “The Battle of the Hotels” where they each occupied a major high-rise hotel in central Beruit. The Phalangists commanded the Holiday Inn, which they used to fire with both light arms and heavier weapons at the militias in neighboring hotels. Klein used the photo of the heavily damaged Holiday Inn sign as I thought it spoke in a curious, offhanded way about American cultural imperialism in juxtaposition with an ashtray that proclaimed Holiday Inn to be “The World’s Innkeeper.” In the work Holiday Inn (Nocturne) the artist utilized a found, 35mm slide of a Holiday Inn sign at night at an unknown location as the basis of the photograph in the work. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

Levan Mindiashvili, in his second major exhibition, will debut works from a new project entitled “The Color Of The Sky” in which he examines the issues concerning identity politics f...

Michele Brody, Drawing Roots: Fairy Ring, Handmade Paper, Flax Sprouts, Wax, 11" x 14" x 2"d, 2016 The essence of Michele Brody’s work thrives on the inter...

Dorothy Mayhall's small sculptures are little monuments to be toyed with and handled. They should be picked up, fondled, and examined like a rock or shell you collect on the beach be...

Yvette Cohen’s oil paintings of geometric masses of color on shaped canvas become objects that fluctuate between two and three dimensions, bridging the divide between sculpture and ...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. Hayes received a...

Architecture and functional objects inform the vocabulary of Richard Bottwin’s sculpture. The plywood surfaces, laminated with wood veneers or painted with acrylic colors, are confi...

In the body of work for “Child’s Play” Roleke has created diminutive worlds in which toys tell the story of consumption, consumerism, war, and the misuse of power and religion. The m...

Charles Birnbaum is a sculptor and a self-taught photographer. He graduated from Kansas City Art Institute where he studied ceramics and was one of a select group of the esteemed Ken...

Bronze pours from salvaged military scrap form a forest of leaf-like natural elements, undulating and seeming to grow out from an unseen ground. The bronzes are formed by a gestural ...

The freestanding sculptures in this portfolio are made from the “sticks”: a pile of found wood that Sweibel has been pulling from to make new works since about 2002. The pile consisted of more than a dozen four- to seven-foot lengths of hardwood, each an uneven inch in depth and width. The sticks were warped, with worn yellow paint on one side and raw wood on the other three. Over the years she has painted the raw sides of the sticks, cut the wood into shorter lengths, and sliced paint off – and kept the residue from these actions. Sweibel has also made sculptures ranging from full-length sticks to tiny stick splinters. She built these sculptures using sliced-off paint. Timeworn materials and objects have an intelligence that the artist looks for and listens to. Shaping and reshaping material to find new form and elicit new insights in the material itself is the territory she is mining. The limitations of the process are its strengths. Her work is concerned with fragility, precariousness, adaptability, and strength. It is a visual response to powerful yet unseen forces - like wind and thoughts - that threaten, propel, ruin, and protect. Liz Sweibel is a multidisciplinary artist working in drawing, sculpture, installation, and digital photography and video. Her spare, personal language of abstraction transforms ordinary materials into statements about connectedness and responsibility: every action has an impact, the effects persist in space and over time, and we are accountable. By drawing attention to simple, ordinary “stuff of life” and referencing both shared and personal history, Sweibel’s work explores and reflects back fundamental experiences in response to our world and relationships. Her intention is to reinvigorate viewers’ awareness of the everyday – in its raw beauty and precariousness – in hopes that they might bring heightened senses of sight and care to their daily lives. Sweibel has participated in solo, two-person, and group exhibits in New York, Massachusetts, Maine, Connecticut, Michigan, and Tennessee since 1998. In 2016, Sweibel’s work was in the group shows Lightly Structured at Sculpture Space NYC, Precarious Constructs at the Venus Knitting Art...

Dorothy Mayhall's small sculptures are little monuments to be toyed with and handled. They should be picked up, fondled, and examined like a rock or shell you collect on the beach be...

While working on a large building project several years ago the artist, Fritz Horstman was struck by the poetry in the unfinished state of the construction site. He was drawn specifically to the space between the plywood walls that were raised as formworks for the pouring of cement. That space could only exist for a few hours before the cement truck...

Liz Jaff creates intricate constructions which use repetition, patterns and forms from nature and architecture to explore ideas of love, commitment, sacrifice and memory of time and ...

Over many decades Loren Eiferman has created and mastered a unique technique of working with wood—her primary material. First, she begins with a drawing of an idea. Then she take...

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Yale University, Cornell University, the Museum of Glass, the DeCordova Museum and Sculpture Park, Artists Space, St. John the Divine Cathedral, Grounds for Sculpture, the Museum of American Glass and ODETTA, among others. International exhibitions have included Guangzhou Academy of Fine Arts Museum, Glasgow School of Art, Glasgow Cathedral, Glasgow University, Galeria Sala Uno and Centro de las Artes de Guanajuato. She represented the United States at the Sharjah Biennial, United Arab Emirates and participated in the Berlin Biennial. in 2010 she received the Bronze Prize, the Museum of Contemporary Art, Skopje, Macedonia. Yarrington is a recipient of artist grants and Fellowships from the Pollock Krasner Foundation, the New York Foundation for the Arts, the Pennsylvania Council on the Arts and the Connecticut Commission on Culture and Tourism. She has received Residency Fellowships from the MacDowell Colony, the Museum of Glass, the Museum of American Glass, the Bridge Virtual Residency/ SciArt Center, the Lucile Walton Fellow/Mountain Lake Biological Station, the Virginia Center for Creative Arts, the Anderson Center and the Ucross Foundation, among others. International grants and fellowships have included the Banff Center for Arts and Creativity/Canada, SIMS Residency/ Iceland, Cill Rialaig Artists Residency/Ireland, the Burren College of Art Residency/Ireland and the American Scandinavian Foundation. She is a Professor of Visual and Performing Arts at Fairfield University and lives and works in New York City. STATEMENT In site-specific exhibitions, public art commissions, collaborative and individual projects Jo Yarrington has used varied combinations of glass, waxed surfaces, found artifacts and experimental analog photography to investigate the way we perceive – searching for, experimenting with and developing throughout a sensory-based vernacular. Her mostly translucent materials function as physical framework and symbolic membrane. Light, both natural and ambient, provides a kinetic or time-based element to her work. Scale and the integration of architecture are also pivotal components. In the 6-part installation for the two-person exhibition Illuminated, Yarrington continues her interest in the connections between vision, sound and language. In Mute-ability: Compositions 1 – 6, her title for this light-based comprehensive work, she combines the words mute and malleability. The work focuses on found piano rolls, a music storage medium, originally conceived as coded notations or ‘note control data’ for music produced in pneumatic player pianos...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. These Form Studi...

While working on a large building project several years ago the artist, Fritz Horstman was struck by the poetry in the unfinished state of the construction site. He was drawn specifically to the space between the plywood walls that were raised as formworks for the pouring of cement. That space could only exist for a few hours before the cement truck...

Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine t...

Liz Sweibel primarily makes sculpture, installations, and drawings. She uses a spare, personal language of abstraction to explore liminal spaces and unseen forces: wind, history, va...

Radioluminescence is the phenomenon by which light is produced in a material by bombardment with ionizing radiation and can be used as a low-level light source for night illumination of instruments or signage or other applications where light must be produced for long periods without external energy sources. Radioluminescent paint used to be used for clock hands and instrument dials...

Bronze pours from salvaged military scrap form a forest of leaf-like natural elements, undulating and seeming to grow out from an unseen ground. The bronzes are formed by a gestural ...

Weaving is a form of drawing, of plotting and connecting lines. Fabricating a three-dimensional, transparent object using thin strips of paper with differing colors on either side re...

In recent years, Daniel G. Hill has been fixated on the work’s method of construction and its physical presence. During the winter of 2014, he began a new line of inquiry, translati...

In 1972, the women’s movement was in full flower. Suzanne Benton had been an early activist, a founder and organizer of NOW Chapters, CT Feminists in the Arts, Women, Metamorphosis 1 (in New Haven, CT, the first women’s art festival in the USA). She'd already been creating metal sculpted masks and working with them in mask tale performances of Women of Myth and Heritage. Her inaugural performance of Sarah and Hagar n 1972 took place at Lincoln Center in NYC. Benton then became the artistic director and producer of an evening on Broadway, Four Chosen Women (performers included herself as mask tale performer, author Anais Nin, actress Vinie Burroughs and dancer Joan Stone). The evening took place at the Edison Theatre, November 22, 1972. While developing the evening on Broadway, Benton met renowned Swedish actress and Hollywood star, Viveca Lindfors. Viveca was then working on her solo performance, I AM A WOMAN, and was looking for a unique theatre set for the show. The happenstance that brought Viveca and Suzanne together. At that same time, recent travel to Macchu Picchu inspired her with the mountain’s great stones sitting on the edge of precipices. These vast stones led her to create welded steel Seated Sculpture Works. Viveca was intrigued by the concept and let her own imagination fly. Imagining a set of welded steel sculpture, she took the leap in commissioning Suzanne with complete faith in artist's ability to fulfill her mandate. Benton created groups of welded sculptures for two theater sets. Protection is one of three sculptures in first set created in 1973. Mother and Child, Pelvic Woman, Facing Each Other are three of five works from the 1974 second set. The first toured with her shows throughout the East Coast and into Toronto, Canada. The second set, created to nest together could travel as checked baggage for international and domestic airline travel. They flew to Denmark in 1980 for her performance at the UN sponsored 1980 Women’s International Conference, Copenhagen. In addition to creating the theatre sets, Benton mounted exhibitions of her masks and sculptures in the lobbies of theatres where she performed (NYC and Northampton). Continuing on with this theme, Becoming is her 1975 Seated Sculpture Work. The theatre sets were returned at the final end of its long run. These Seated Sculpture Works have often been featured in exhibitions, including both the 2003 and 2005 retrospectives. They are part of an oeuvre of 797 sculptures and masks. What attracted her to welded sculpture? This excerpt from her book, The Art of Welded Sculpture, Van Nostrand Reinhold, 1975 speaks of its lure: "Early in my life, when I had decided to become an artist, I had had an inner vision of being able to hold the physical material of my art in such a way as to bring it into existence with my hands. In welding, I wear a mask, a heavy apron, and gloves. I heat the metal and make it bend so smoothly and gracefully; I cut the metal, rigid metal, into endless shapes; I join the pieces by causing them to flow together with the heat of the flame. Welding was a return to my adolescent vision. It was fulfillment. At that beginning time I felt that even if I went no further, this experience in itself gave me astounding satisfaction. It was as thrilling as the moment of birth. It was my birth." (Pelvic Woman and Protection are illustrated in the book): What began in 1965 became by 2017 an oeuvre of 797 sculptures and masks. The magic of the welding mask...

Bronze pours from salvaged military scrap form a forest of leaf-like natural elements, undulating and seeming to grow out from an unseen ground. The bronzes are formed by a gestural ...

ODETTA is pleased to offer this important sculpture from the Estate of David Hayes. David Vincent Hayes (March 15, 1931 – April 9, 2013) was an American sculptor.. These Form Studi...

Michele Brody, Nature in Absentia: Cattails Plucked Out, Handmade Cast Paper The essence of Michele Brody’s work thrives on the interaction with n...